Why representation?
From cave drawings, to Plato's shadows, to the melding of photo-chemistry, optics, and the maltese-cross movement, humans are always projecting.
Cinema (originally cinematographe, "motion writing") is a mechanical transport that projects an artificial sun through a sequence of celluloid shadows.
Into shadows we project meaning using a medium on the precarious edge of entropy.
In the movies, curiously, there is no motion in the projected still frames. All movement is the viewer's illusion.
Enter the gangster film, mechanically produced, reproduced, distributed, exhibited, and consumed. What to make of mechanized cultural productions?
What meaning, and illusions, in these images, words, sounds, and rhythms, methodical as a machine, as precise as a computer?
3 PRINTS IN DISTRIBUTION
|
distribution format |
16mm |
|
screen |
1,37 - Standard (single screen) |
|
speed |
24 fps |
|
sound |
optical sound |
|
original language |
English |
|
rental fee |
178,00 € |
|
distribution format |
Digital file on server (FHD) |
|
screen |
1,37 - Standard (single screen) |
|
speed |
24 fps |
|
sound |
sound |
|
original language |
English |
|
rental fee |
110,00 € |
|
distribution format |
DCP on server (SMPTE 2K) |
|
screen |
1,37 - Standard (single screen) |
|
speed |
24 fps |
|
sound |
sound |
|
original language |
English |
|
rental fee |
110,00 € |
